Just done my first matrix following your instructions. Very easy to follow, great results, confident that the effort required to make the two source recordings was worthwhile and shall be doing so again.

The time you took to write this out 2.5 years ago is very much appreciated.

I will say that my workflow is a little different now. The main difference, is that the new audacity versions don't make you pick a sample rate before you start, so I do all my mixing at high-resolution now, then create the low-res (cd quality) version from that. The next change is that I decided I don't like Audacity's dither, so I turned it off.

My personal change is that I now use Digital Performer on the mac instead of audacity to do my work, but the old way is still reliable, and you can install all the software you need on any machine for free!! Damn handy on the road, or at mom's house!!

I don't understand this, though. The two files will be different in length anyway because they started at different times and stopped at different times. How do you account for that? And if you select the link between two set points, it is always going to be the same, at least if you use the "label" function... Am I missing something?

The only thing I'd add to morst's excellent instructions is that after saving the matrix, you can load it into the project you're working on.....check for overs and overall ratio.....and if you don't like what you see, dump the matrix from the project and tweak the sources for another try at it.

That way, you don't lose any of your work, and you can iteratively improve the final matrix.

"Don't ever take an all or nothing attitude when it comes to making a differenceand being beautiful and making the world a beautiful place through your actions. Every little bit is registered. Every little bit. So be as beautiful as you can as often as you can"

"It'll never be over, 'till we learn."

"My dream is to get a bus and get the band and just go coast to coast. Just about everything else except music, is anti-musical. That's it. Music's the thing." - Jeb Puryear

I don't understand this, though. The two files will be different in length anyway because they started at different times and stopped at different times. How do you account for that? And if you select the link between two set points, it is always going to be the same, at least if you use the "label" function... Am I missing something?

I've done three matrixes using this workflow now. All of them have a brief period at start and end where they're single-source after I've time-aligned. Most of this disappeared at the start of the show when I tracked the matrix, and at the end there's very little audience in the SBD source anyway so it's pretty much inaudible.

We're dealing with a small amount of drift between two different R-44's. The drift ends up being about 110 milliseconds per hour. The problem with "time stretch" in Soundforge is that this amount of stretching is too small. Soundforge won't let me stretch anything below 100.01%, which is about 500 milliseconds. Any ideas?

We're dealing with a small amount of drift between two different R-44's. The drift ends up being about 110 milliseconds per hour. The problem with "time stretch" in Soundforge is that this amount of stretching is too small. Soundforge won't let me stretch anything below 100.01%, which is about 500 milliseconds. Any ideas?

The 'change speed' option in Audacity seems to have worked fine with 0.005% and 0.009% for the matrixes I've done so far

We're dealing with a small amount of drift between two different R-44's. The drift ends up being about 110 milliseconds per hour. The problem with "time stretch" in Soundforge is that this amount of stretching is too small. Soundforge won't let me stretch anything below 100.01%, which is about 500 milliseconds. Any ideas?

Divide the times into each other on a calculator,change into a percentage difference,copy the EXACT number from the calculator,and paste it into Audacity's Speed Change.

"Don't ever take an all or nothing attitude when it comes to making a differenceand being beautiful and making the world a beautiful place through your actions. Every little bit is registered. Every little bit. So be as beautiful as you can as often as you can"

"It'll never be over, 'till we learn."

"My dream is to get a bus and get the band and just go coast to coast. Just about everything else except music, is anti-musical. That's it. Music's the thing." - Jeb Puryear

I've never gotten the paste to work and have to type it manually. No biggie, but a minor pain.

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"This is a common practice we have on the bus; debating facts that we could easily find through printed material. It's like, how far is it today? I think it's four hours, and someone else comes in at 11 hours, and well, then we'll... just... talk about it..." - Jeb Puryear

"Don't ever take an all or nothing attitude when it comes to making a differenceand being beautiful and making the world a beautiful place through your actions. Every little bit is registered. Every little bit. So be as beautiful as you can as often as you can"

"It'll never be over, 'till we learn."

"My dream is to get a bus and get the band and just go coast to coast. Just about everything else except music, is anti-musical. That's it. Music's the thing." - Jeb Puryear

Bump for great thread going to page 2 and for probably a pointless question:

When adjusting the speed, are there any advantages/disadvantages to whether you lengthen the shorter track or shorten the longer track? Normally I've found they're only fractions of a second off so I'm assuming it doesn't matter, but for whatever reason I seem to feel lengthening the shorter one would be better for some reason.

Bump for great thread going to page 2 and for probably a pointless question:

When adjusting the speed, are there any advantages/disadvantages to whether you lengthen the shorter track or shorten the longer track? Normally I've found they're only fractions of a second off so I'm assuming it doesn't matter, but for whatever reason I seem to feel lengthening the shorter one would be better for some reason.

I don't think it matters. A more pressing concern is to not stretch the source that will make the base of your mix. If you normalize both tracks to the same RMS level and then decide you want to use 70% of the sbd, then I'd stretch the room pull as each resample may induce further artifacts to the recording and I'd want the lesser used source to suffer compared to my base.

Whether that matters, I don't know, but it's no skin off my back to do it that way.

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"This is a common practice we have on the bus; debating facts that we could easily find through printed material. It's like, how far is it today? I think it's four hours, and someone else comes in at 11 hours, and well, then we'll... just... talk about it..." - Jeb Puryear

I've never gotten the paste to work and have to type it manually. No biggie, but a minor pain.

I have not tried it in this particular setting, but many times when you cannot right click "copy" or "paste," you can do it by using the keyboard commands, "Control + "C" [copy] and "Control + "V" [paste].